Hello my friends. I am sure many of you reading this blog are like me fans of both TCM and silent films. Because of this here is a list of each silent film being shown on TCM this May.
Monday May, 1st
Image Makers: The Adventures of America's Pioneer Cinematographers (2019) Director: Daniel Raim. (Documentary on silent film) 3:15pm Pacific. 6:15pm Eastern.
Laugh, Clown, Laugh (1928) Director: Herbert Brenon. Cast: Lon Chaney and Lorretta Young. 5pm Pacific. 8pm Eastern.
Desert Nights (1929) Director: William Nigh. Starring John Gilbert and Ernest Torrance. 11:15pm Pacific. 2:15am Eastern.
Wednesday May 3rd
When Knighthood Was in Flower (1922) Director: Robert G. Vignola. Starring Marion Davies and Forrest Stanley. 11pm Pacific. 2am Eastern.
Thursday May 4th
Too Many Kisses (1925) Director: Paul Salone. Starring Richard Dix and Frances Howard. 9:30am Pacific. 12:30pm Eastern.
Sunday May 7th
Sky High (1922) Director: Lynn Reynolds. Starring Tom Mix and J. Farrell McDonald. 9:15pm Pacific. 12:15am Eastern.
The Big Diamond Robbery (1929) Director: Eugene Forde. Starring Tom Mix and Kathryn McGuire. 10:15pm Pacific. 1:15am Eastern.
Sunday May 14th
The First Degree (1923) Director: Edward Sedgwick. Starring Frank Mayo and Sylvia Breamer. 9:15pm Pacific. 12:15am Eastern.
Too Many Kisses (1925) Director: Paul Salone. Starring Richard Dix and Frances Howard. 10:15pm Pacific. 1:15am Eastern.
Thursday May 18th
The Gold Rush (1925). Director: Charlie Chaplin. Starring Charlie Chaplin and Mack Swain. 5pm Pacific. 8pm Eastern.
Sunday May 21st
High and Dizzy (1920) Director: Hal Roach. Starring Harold Lloyd and Mildred Davis. 9pm Pacific. 12am Eastern.
Billy Blazes Esq. (1919) Director: Hal Roach. Starring Harold Lloyd and Snub Pollard. 9:25pm Pacific. 12:25am Eastern.
Ask Father (1919) Director: Hal Roach. Starring Harold Lloyd and Snub Pollard. 9:37pm Pacific. 12:37am Eastern.
An Eastern Westerner (1920) Director: Hal Roach. Starring Harold Lloyd and Mildred Davis. 9:50pm Pacific. 12:50am Eastern.
Monday May 22nd
Image Makers: The Adventures of America's Pioneer Cinematographers (2019) Director: Daniel Raim. (Documentary on silent film) 9:15pm Pacific. 12:15am Eastern.
Sunday May 28th
The Four Horsemen of the Apocalypse (1921) Director: Rex Ingram. Starring Rudolph Valentino and Alice Terry. 9pm Pacific. 12am Eastern.
Hello my friends and welcome back for another service of Cowboy Church.
Today’s musical selection begins with Roy Rogers and Dale Evans with Jesus Loves the Children. Though this is often times looked at as a Sunday school song for kids, it has important messages even for us as adults. It reminds us that Jesus has loved us ever since we were little children. It also reminds us that God looks at who we are inside and not our outward appearance. Because of this racial or any other type of prejudice has no place in the life of a Christian.
This is followed by another husband-and-wife duo, Johnny Cash and June Carter Cash with No Need to Worry. So often even the most seasoned Christians spend a lot of time worrying. Yet the creator of the universe loves us and watches over us. While this does not mean that life will be automatically easy for any of us, it does mean that even in our darkest hour, God has not forsaken us and if he is with us than he will take care of our worries and bless us.
Next is Barbara Mandrell with Blessed Assurance. This hymn came about when songwriter Fanny Crosby visited composer Phoebe Palmer Knapp. Knapp played a tune for Crosby and asked what came to her mind with that tune. Crosby said, "Blessed assurance, Jesus is mine!" She then immediately followed it with more lyrics that would be in the finished song. The song was published in 1873 and first appeared in a monthly magazine for which the editors were Joseph Fairchild Knapp and Phoebe Palmer Knapp (who were husband and wife). When it later appeared in 1887's Gospel Songs, No. 5 by Ira Sankey, this we lead it to greater fame as it would be commonly sung in the revivals of Dwight L. Moody and Sankey. By 1889, the hymn commonly appeared in Methodist hymnals.
Then comes the Dixie Reelers with I’ve Got to Walk That Lonesome Valley.
Afterwards comes The Sons of the Pioneers with their 1937 recording of Leaning on the Everlasting Arms. This hymn began with a man named Anthony Showalter. As a fan of gospel music and an elder in a Presbyterian church, he held many "singing schools" at various churches in the south. One day he received two letters from former students who were struggling after their wives had passed. To respond to these letters, Showalter consulted scripture. He came across Deuteronomy 33:27, "The eternal God is thy refuge, and underneath are the everlasting arms." After reading this verse lyrics for a song chorus went through his head and he wrote down, "“Leaning, leaning, safe and secure from all alarms; Leaning, leaning, leaning on the everlasting arms.” After using this in the letters to his former students he sent this chorus to his friend hymnist, Elisha Hoffman. In the letter he also wrote, “Here is the chorus for a good hymn from Deuteronomy 33:27, but I can’t come up with the verses.” Hoffman then wrote the rest of the lyrics to which Showalter put to music. The hymn was published in 1887.
Next comes Little Jimmy Dickens with his 1955 recording of Are You Insured Beyond the Grave.
Today's musical selection ends with The Sons of the San Joaquin with It is Well. Though this is a hymn of hope and peace it was written in a time of great sadness. The song was written by Horatio G. Spafford in 1873. He had planned a European trip for himself, his wife and four daughters, however because of his work he was unable to go, and he let his family go without him and after he finished his work, he would meet them there. However, the ship was hit and quickly sank. Though his wife was saved all four of his daughters had gone down with the ship. Amazingly he wrote this hymn when approaching an area near where his daughters had sunk.
Now for a sermon from S.M. Lockridge.
And the next chapter of Gene Autry's movie serial, The Phantom Empire (1935).
They replied, “Believe in the Lord Jesus, and you will be saved—you and your household.” Acts 16:31
He has saved us and called us to a holy life—not because of anything we have done but because of his own purpose and grace. This grace was given us in Christ Jesus before the beginning of time. 2 Timothy 1:9
Very rarely will anyone die for a righteous person, though for a good person someone might possibly dare to die. But God demonstrates his own love for us in this: While we were still sinners, Christ died for us. Romans 5:7-8
If I speak in the tongues of men and of angels, but have not love, I am a noisy gong or a clanging cymbal. And if I have prophetic powers, and understand all mysteries and all knowledge, and if I have all faith, so as to remove mountains, but have not love, I am nothing. If I give away all I have, and if I deliver up my body to be burned, but have not love, I gain nothing. Love is patient and kind; love does not envy or boast; it is not arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice at wrongdoing but rejoices with the truth. Love bears all things, believes all things, hopes all things, endures all things. Love never ends. As for prophecies, they will pass away; as for tongues, they will cease; as for knowledge, it will pass away. For we know in part and we prophesy in part, but when the perfect comes, the partial will pass away. When I was a child, I spoke like a child, I thought like a child, I reasoned like a child. When I became a man, I gave up childish ways. For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall know fully, even as I have been fully known. So now faith, hope, and love abide, these three; but the greatest of these is love. 1 Corinthians 13:1-13
Honor your father and your mother, that your days may be long in the land that the Lord your God is giving you. Exodus 20:12
Let the peace of Christ rule in your hearts, since as members of one body you were called to peace. And be thankful. Colossians 3:15
For everything there is a season, and a time for every matter under heaven: a time to be born, and a time to die; a time to plant, and a time to pluck up what is planted. Ecclesiastes 3:1-2
As a mother comforts her child, so will I comfort you; and you will be comforted over Jerusalem. Isaiah 66:13
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
As you start watching this film you may think that this is just a charming movie about a teenage girl who dreams of becoming a stunt woman with just a bit of a weird sense of humor. If you are thinking this though you could not be more wrong and you will be completely unprepared for just what awaits you. I don't feel it is right to give any more specifics about this film's story because going in you shouldn't be aware of the directions this film is going to go in. I guarantee that if you don't know much about this movie, you definitely won't see the strange plot twists coming and that is the beauty here. Much of the humor from this movie comes from you don't know when it is going to be somewhat grounded in reality and when it is going to leave reality far behind it. This makes every over-the-top twist, big action sequence and pure slapstick scenes, so much funnier. I was surprised at just how much I laughed out loud at this movie. There are so many great comedic set pieces here and each one works very well. The scene in the gym especially had me cracking up. Yet the more reality grounded scenes are quite fun as well do to some great banter between our main characters, some of which is truly funny. To balance the over-the-top eccentricates with the more grounded character moments without this feeling like a mess of a film, is no easy feat. The fact that it is done so well is made all the more impressive by the fact that this is director and writer, Nida Manzoor's first feature film. She is not the only one making her feature film debut with this movie. Our main character is played by Priya Kansara, who is also making her feature film debut here. She is truly wonderful. She has a great comedic talent and gets the best out of every comedic moment she is given. Her delivery and performance plays a major role in why the comedy work. Yet she never lets her performance become a joke and instead makes the character always completely likable. Even when she does things that are not morally right, we still like this character because of the charm this young actress brings to the role.
This movie does have some problems though. The scenes that take place in the school for some reason mostly fall flat, neither being as funny or exciting as the rest of the film. Also despite the main character (as well as her sister) being very likable and relatable, many of the supporting characters are not as interesting. They are simplistic stereotyped characters that have little more than that to their personalities. These characters do get some really good laughs but they never seem real to us the way our main character does. There are also a few times that this movie can seem to drag a little. Luckily these times don't last too long and the majority of this movie is a lot of fun.
This movie is simply tons of fun and should delight anyone looking for something that is not afraid to get more than a little weird.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with a classic Mickey Mouse film, The Pet Store (1933). This cartoon directly references the RKO feature film, King Kong (1933). This reference includes the use of the character of Beppo the gorilla. Beppo, had previously appeared in the films, The Gorilla Mystery (1930) and Mickey's Mechanical Man (1933). The following are some exhibitors reviews from The Motion Picture Herald. "Pet Shop, The: Mickey Mouse - Another Mickey Mouse that is really original. Takes off 'King Kong' and does it well. - William A. Crute, Victoria Theatre, Vancouver, B.C. Neighborhood Patronage." "Pet Shop, The: Mickey Mouse - Just another Mickey Mouse comedy that will please kids and make them laugh. I am glad this series of shorts are running out as they are not as good as many others on the market. Look out, Mr. Disney, or you will lose out. Running time, 8 minutes. J.J. Medford, Orpheum Theatre, Oxford, N.C. General Patronage."
Sponsor, 1956
Now for Betty Boop and Bimbo in Any Rags (1932). This film was part of the Talkartoons series. Later the same year, Betty Boop would get her own series of short films.
Next comes a delightful cartoon starring Woody Woodpecker, The Great Who-Dood-It (1952). This cartoon was the first of the Woody Woodpecker films to be directed by Don Patterson. It definitely was a good short to begin with.
Next is The Ant and the Aardvark cartoon, Dune Bug (1969). When you look at the opening credits of this film notice how all the musicians who provided the music are credited. This was very rare for a cartoon short of this era. The film is directed by Art Davis, who was one of the writers of the Tweety and Slyvester short, Sandy Claws (1955), which featured Slyvester chasing Tweety on a beach.
Now it is time for a commercial break.
Now for a classic silent short film from Paul Terry, The Cat's Revenge (1923).
Next is Porky Pig in Rover's Rival (1937). This was the first Looney Tune to use The Merry Go-Round Broke Down as the theme song. It would remain the Looney Tunes theme song long afterwards. This was also the first cartoon to end with Porky popping out of the drum and saying, "That's All Folks." The film was directed by Bob Clampett, whose black and white Porky cartoons helped solidify him as the character we all know today. Clampett wasn't the only legendary animation director who worked on this short film. One of the animators was Chuck Jones, who really gets to show off his skill here. He gets to deliver some excellent character animation including such scenes as Rover leaving the kennel towards the start, the little pup fetching the dynamite and then bring it back after Porky throws it away and Rover's shock after reading what dynamite is. Bobe Cannon, who would direct some fantastic films for UPA animates the little pup blowing Rover to the ground.
Now for the Terry Toons cartoon, The Helpful Geni (1951).
Today's cartoon selection ends with the next chapter of the webtoon miniseries featuring our favorite Looney Tunes characters, Toon Marooned (2001).
Thanks for joining me. Come back next week for another selection of animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
A well-made, if flawed, biopic of boxer and preacher George Foreman.
I admit that before this movie came around all I knew about George Foreman was seeing his face advertising grills and that one episode of King of the Hill. I have never been interested in sports and have never seen a boxing match. Watching this film though it is very easy to understand why it was decided to make a movie based on him. His story has all the hallmarks of a classic redemption story of the type we have seen in movies before but still have not grown tired of. While this story is told in a familiar way here, that does not mean that it wasn't effective. Especially helping here is a great performance by Khris Davis as George Foreman himself. He is simply fantastic in this role and carries himself with a great amount of charisma and likability. While this is a redemption story and the main character has demons to overcome, due heavily to this performance, we still like and relate to this character even in his weakest moments. He also handles the more dramatic and heartbreaking moments incredibly well, bringing a real humanity to them. This film also does a great job of showing the difficulties of redemption and repentance. This movie takes a realistic look at this part of the story, showing that it is not always an easy road and there are bound to be missteps along the way.
This is even shown in little moments and it is these moments that help make this movie much more heartfelt. The film also captures the charm of these types of stories and makes it easy to understand why they still appeal to so many people. That is because it knows how to be sentimental without ever feeling cloying. Add a good sense of humor and you get a really charming movie.
This movie certainly does have some big faults though. Much of this is due to trying to tell the story of a good portion of someone's life in a little over two hours. Because of this the movie can feel really rushed at times. This is especially true of the film's conclusion. This also makes it so that many of the supporting characters don't get the time they need to feel fully fleshed out, making not as interesting as they should have been. Also because of this movie's familiarity even if you don't know the true life story, you normally know what is going to happen next. It also makes it hard for the film to stand out among so many simular movies.
This film may have its flaws, but it is also a very effective biopic with a perfectly cast lead actor.
Despite never having been a tween girl and having been through much of what Margaret goes through here, I found myself feeling incredibly moved by this film. Much of this is due to the integrity and heartfelt-ness of this movie. There was not one second of this film that felt false or phoned in. Margaret becomes a real person to us, and we deeply care about her and because of this we become deeply invested in everything that happens to her. Everything that is important to her becomes important to us and we feel every embarrassing moment and every personal triumph along the way. Much of this is due to the wonderful script by Kelly Fremon Craig (who also directed the film). This script in many ways stays very true to Judy Blume's beloved book (that this is based on). It is clear that the filmmaker connected deeply with the book and this can be felt every second of screen time. Much of this is also due to the incredible acting of child actress, Abby Ryder Fortson. Despite being in the same film as many really talented adult actors, this young actress not only steals the film but becomes the heart of it. She gets every moment and emotion (both big and small) exactly right, and there is no doubt she put her whole heart into this movie. I can't see how someone can watch this performance and not care about Margaret and want to give her a hug every time she is sad or feels isolated or alone. This is no easy feat and I hope that Abby goes far in this business because she deserves to.
This film discusses such ideas as religion, faith, prejudice, puberty, growing up and the harmful effects of gossip. Yet it does all of these things, without ever feeling heavy handed or overbearing. It goes over each of these subjects in a way that is both very intelligent and very approachable for anyone. This movie left me with a lot of food for thought that is still going through my mind. This is especially true of this movie's approach to religion. This film does not tell anybody what to believe nor does it give an answer to the question of whether or not there is a God. What it does instead is takes an intelligent and thought-provoking look at religion and its place in our lives and lets us decide what we are going to make of it. No matter what you believe this movie will cause you to look inward at your own faith. The look at puberty is also wonderfully done. It is done in a way that feels open and honest, while always feeling completely tasteful and not alienating those who have not gone through any of this. This film also heavily benefits from the fact that we see everything through Margaret's eyes and how that makes these complex topics easy to understand and emotionally involving, while never once talking down to the audience. This movie is also helped by some incredibly funny humor. I laughed quite a bit watching this film as did the other people in the theater with me.
This is a truly wonderful movie that manages to be both great art and great entertainment.
This movie marks the directorial debut of Ray Romano (who also stars in and co-wrote this movie). The influence of his beloved sitcom Everybody Loves Raymond can be felt through much of this film. It is a small-scale story, it is based on the relationships in a family and features eccentric side characters. However unlike the sitcom this is a film that is not afraid to make you feel uncomfortable and explore more dramatic territory that is not always feel good. Shockingly it is with this that the movie works best. Much of this comes from the authenticity of the main character and his relationship with his son. There is never a moment where this relationship rings false. Though this relationship goes to difficult places and what the father does for his son, can't really be considered the moral thing to do, there is no doubt that these two characters truly love each other. This makes the many scenes where the father simply goes too far still very compelling. It also makes it so that we can feel angry at him for doing what he is doing but never so much so that we stop being able to sympathize with him. This is of course not hurt by a very likable performance by Ray Romano, who makes us truly care about the character, without hiding the darker side of him. The son (while a bit underdeveloped) is also always likable and there are many scenes where you simply want to give him a hug. This is also helped by a very good performance by Jacob Ward (in his first feature film). Also quite heartfelt was the subplot involving our main character's wife, as she struggled with anxiety after having had cancer. This was handled in a very touching and intelligent way and I wish it had been given more time.
This movie does have its problems though. One is that outside of the father, son and mother, the rest of the family isn't that interesting. They kind of work as a group because they show the type of family that these characters are a part of and how that makes them who they are. However as individuals each of these characters is very bland and forgettable. The humor in this movie is surprisingly not as funny as it feels like it should be. The humor is not bad at all, but it made me smile much more than it made me actually laugh. This wouldn't be that much of a problem, if the comedic moments didn't always feel like they were going for a bigger laugh than they ended up providing. This is also one of those movies where you almost always know what is going to happen next story wise and its familiarity makes it hard for the film to truly stand out.
While this film may have its faults it does a really good job at pulling on your heartstrings.
This movie’s plot involves a sculptor who is preparing for a showing of her art. Most filmmakers would make this a film about art but Kelly Reichardt is not most filmmakers. Instead this becomes a movie about all the little things that happen to her as she prepares for this show. Many of which do not even revolve around art. This is one of those movies that moves at a really slow pace but as it goes on, you are completely gripped by what you are watching. It does not take along until we are completely invested in the life of this character even down to the smallest things. We care about her having to take care of a pigeon that her landlord sticks her with, about her not having hot water to take a shower, we care about her strained relationship with her parents and mentally ill brother and all these other little things. We also find ourselves easily relating to and understanding this character, because all of us have had our lives at times overrun by little things. Through all that happens in this film, not one moment rings false. It feels as if we are not just watching a movie but having a peek into someone else's life. Because of this there is a strong emotional connection we feel throughout the majority of this film. This is a movie about pushing forward when life stands in the way, but this is also a movie that never romanticizes anything. We do not have any over the top feel-good moments, but at the same time, we feel inspired by what we see. In other words, this film presents both the hardships and beauty of life in their pure reality.
Adding to the beauty of this film is a wonderfully heartfelt performance of Michelle Williams as the main character. Her performance is subtle but always real and human. Also helping is a delightful deadpan sense of humor. Though this type of humor may not appeal to everyone, it made me laugh multiple times.
Despite having Guy Ritche's name in the title, this is not your typical Guy Ritche movie in any way. This is a much more serious and often somber endeavor without much of the filmmaker's trademark smart-alecky humor. Yet most of this movie sees Guy Ritche at the top of his game. That is because under everything this is a deeply human story. Much of the film rests on the relationship between two men, a U.S. Army sergeant (Jake Gyllenhaal) and an interpreter (Dar Salim) during the War in Afghanistan. Over the course of the film this friendship evolves into something truly beautiful and does so in such a natural and believable way, which is helped by great chemistry from our leads). This creates a strong emotion bond to the movie that keeps us highly engaged through the whole film. As such this becomes a very emotional ride as it is this relationship on which the entire plot of the film rests. This is not to say that the movie does not explore deeper themes as it certain does. Though Guy Ritche is not quite known for message movies, he gets this message across very effectively. This movie tells of how the US left many of the Afghans who helped the US and saved many American lives to fend for themselves. This is a very important message and one that deserves to be heard and this film tells it in a respectful, mature and intelligent way. This important message never feels like it is being preached to us, but like a naturally part of the story. Though this movie may not be a true story, it is inspired by many similar real-life events and that can be felt throughout the film, which has a feeling of a real-life urgency.
This film does have some faults though. One of them is that the other characters, besides our main two, come off as bland and simply not very interesting. Another is that towards the last act this film in many ways becomes the Hollywood action movie, it has avoided being for the rest of its runtime. This can feel jarring and like it doesn't belong with the rest of the film. This is not helped by some plot devices that feel a little too convenient to be believable, which feel at odds with the realistic nature of most of the film.
Despite some faults, this is an excellent movie and one that has a truly important message.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with a wonderful version of the classic hymn, How Great Thou Art. In their book, Happy Trails: Our Life Story, Roy tells of a story that had to do with this song. "I'll tell you about one time we nearly got into a real war with the promoters: at the World Championship Rodeo at Madison Square Garden in 1952. During the first rehearsal I started to practice 'How Great Thou Art,' a religious song I wanted to make the centerpiece of our musical act. There's a line in that song that goes, 'Then sings my soul my Savior God to Thee...' Someone in the front office heard the rehersal and came to me that night to tell me I wasn't allowed to mention Christ at the rodeo. 'It might work for the kids in Houston, Texas' he told me, 'But this is New York. You can't preach to kids here.' I told him I wasn't preaching but that the Savior was a part of the song and I fully intended to sing that song in New York or anywhere else we performed. They suggested that I could change the words of the song so it didn't mention Him. I'm not one for grandstand plays but I told those fellas that if I couldn't sing 'How Great thou Art' just how it was written, Dale and I would pack up and leave town. The song stayed in the show. That year we did forty-three performances over twenty-six days and broke all Madison Square Garden attendance records."
This is followed by Porter Wagoner and Dolly Parton with Daddy Was an Old Time Preacher Man. This song was written by Dolly and her aunt Dorothy Jo Hope. They wrote this song about Rev. Jake Owens, who was Dolly's grandfather and a Pentecostal minister. Daddy Was an Old Time Preacher Man was the single from Porter and Dolly's 1970 album together, Once More.
Next is Billy Walker with Hello God. It is too often that we simply take the fact that we are allowed to talk to God for granted. The fact that the creator of the universe actually cares about us and wants to have a conversation with us is simply mind blowing when you stop to think about it. It is impossible to describe just how blessed we are to have this opportunity.
Afterwards is Johnny Cash with Look Unto the East. This song serves as an important reminder whenever we look at the state of the world and see all the horrible injustices that not only exist but are often rampant. God is not blind, he sees what is happening and he will not allow it to last forever.
Now for The Monroe Brothers with their 1936 recording of God Holds the Future in His Hand.
Next is The Charlie Daniels Band with My Chosen One. This song comes from the group's 1994 album, The Door. In his memoir, Never Look at the Empty Seats, Charlie Daniels wrote, "I think the most pressure I was ever under as a songwriter was when I wrote the songs for our first gospel album, The Door. It was such a special project to me. I wanted it to be much more than just another gospel album. I wanted the lyrics to have impact and hopefully speak to some of the people who, like me, had such a hard time understanding the gospel message and were falling through the cracks." (Daniels, 260) Charlie worked very hard on each song and rewrote some multiple times. The effort paid off. This fantastic 1994 album shows The Charlie Daniels Band at their best and it won them their first Dove Award.
Then comes The Sons of the Pioneers with their 1948 recording of Rounded Up in Glory.
Today's musical selection ends with Bob Dylan singing Precious Angel. This song comes from his 1979 album, Slow Train Coming, which was his first Christian album.
Now for a sermon for Billy Graham.
Now for the next chapter of Gene Autry's movie serial, The Phantom Empire (1935).
If you have trouble reading the following pages click on them and use your touch screen to zoom in.
The Exhibitor, 1951
Devote yourselves to prayer, being watchful and thankful. Colossians 4:2
And whatever you do, whether in word or deed, do it all in the name of the Lord Jesus, giving thanks to God the Father through him. Colossians 3:17
Now when Daniel learned that the decree had been published, he went home to his upstairs room where the windows opened toward Jerusalem. Three times a day he got down on his knees and prayed, giving thanks to his God, just as he had done before. Daniel 6:10
Who is a God like you, pardoning iniquity and passing over transgression for the remnant of his inheritance? He does not retain his anger forever, because he delights in steadfast love. He will again have compassion on us; he will tread our iniquities underfoot. You will cast all our sins into the depths of the sea. Micah 7:18-19
Anyone who does not love does not know God, because God is love. 1 John 4:8
Jesus Christ is the same yesterday and today and forever. Hebrews 13:8
Now faith is confidence in what we hope for and assurance about what we do not see. Hebrews 11:1
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Woody Woodpecker in Woody the Giant Killer (1947). This short film was directed by Dick Lundy. Lundy had previously been a Disney animator working on many of the studio's best short films, he would later move to MGM where he would direct many Barney Bear cartoons.
Now for a fantastic black and white Daffy Duck cartoon. This cartoon was directed by the one and only Bob Clampett. Clampett directed many of the funniest and wildest Looney Tunes shorts and this film shows him at his best. Fitting with the director's wild and crazy sense of humor, this cartoon features that great early wild and crazy Daffy Duck, who enjoys jumping up and down and shouting "Wooo-Wooo." This cartoon also features a much more sympathetic depiction of Daffy than later cartoons would, and it is extremely effective. Porky Pig has a part as the judge and there was a reason for this. At this time nearly all the Looney Tunes cartoons featured Porky Pig, while the Merrie Melodies did not have to. With this in mind it was common in Looney Tunes of this period for Porky to simply have a small part to meet this quota. So without further ado here is The Henpecked Duck (1941).
Next comes a delightful black and white Silly Symphony, The Busy Beavers (1931). This movie was directed by Burt Gillett, who would go on to direct some of the finest some of the best Mickey Mouse cartoons and in 1934 he would be running the Van Bueren cartoon studio. This short film had a large cast of animators, 16 in fact, who spent 6 weeks working on this movie. Jack Cutting (who would later direct the Silly Symphony, Farmyard Symphony (1938) and co-direct (with Ham Luske) the last Silly Symphony, The Ugly Duckling (1939)) animated the opening long shot of the beavers building a dam. Frenchy De Tremaudan animates the beavers laying the bricks. Dick Lundy (later a director of Woody Woodpecker and Barney Bear cartoons), animates the scene with the wheelbarrow and the beavers cutting down the trees. Johnny Cannon animates the scene with the elk and the beavers at the hoist and sawmill. Tom Palmer (who would later direct some cartoons for Warner Brothers) animates the scene with the cement mixers and the hod carriers. Joe D'Igalo animates the beavers marking the trees and the worm. Rudy Zamora animates the little beaver with the owl. George Lane animates the beavers rowing on the log like a boat. Charles Bryne animates the long shot of the beavers running for cover. Harry Reeves animates the little beaver discovering the leak. Jack King, who would later direct some wonderful Donald Duck cartoons, animates the little beaver holding the leak. Chuck Couch animates the turtle with the little beaver. Hardie Gramatky animates the cloud unzipping. Ben Sharpsteen (who would later be the supervising director on the Disney feature films, Pinnochio (1940), Fantasia (1940) and Dumbo (1941)) animates the little beaver in the midst of the storm and the pond being flooded. Les Clark, one of Walt's nine old men and one of the best Mickey Mouse animators, animates the little beaver cutting down the tree as well as the final scene of the picture. Marvin Woodward animates the long shot of the beavers celebrating. This short film made its TV debut on an episode of The Mickey Mouse Club that aired on December 6, 1955.
Next comes the Ant and the Aardvark in Scratch a Tiger (1970). This movie came out at a time when theatrical cartoon shorts were fading from theaters. However with short films like these the DePatie-Freleng studio (and a few others) was helping these types of cartoons to continue, at least for a little while.
Now it is time for a commercial break.
Now for a silent movie, Watered Stock (1926). This short film features the one and only farmer Alfalfa.
Next is the Talkartoon short film, Grand Uproar (1930).
Next is Popeye's 20th Anniversary (1954). This cartoons title refers to Popeye's anniversary of when he first appeared on movie screens, which was in 1933. However the character himself had been around longer, first appearing in the Thimble Theater newspaper comic strip in 1929. As Popeye is not much for public speaking he brings along some of the movies which made him famous. The movies he brings along are the cartoons, Tops in the Big Top (1945) and Rodeo Romeo (1946).
We end with the next chapter of the Toon Marooned (2001) saga.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
An excellent biopic of classical musician and composer, Joseph Bologne.
Being a movie about a musician, obviously the music is one of the most important ingredients of the film. If the music isn't great than the rest of the film will simply ring false. Luckily the music here is wonderful. It will not only sound great to fans of classical music but also people who have never really sat down and listened to classical music. I can see someone becoming a classical music fan, simply because they saw this movie. The music is simply that good. This includes both Kris Bowers and Michael Abels' wonderful arrangements of the classical music used in this film (including some of the surviving works of Joseph Bologne) is simply beautiful to listen to and helped make much of this film an emotional experience. This movie also features some incredible set pieces for this music. This includes a truly wonderful opening scene that I can't praise enough (luckily this movie also has a great ending scene).
Much of this film's charm also goes to a truly wonderful performance by Kelvin Harrison Jr. (who last year played another musical genius, B.B. King in Elvis (2022)). He brings such a charm and humanity to this character that it is hard not to connect to him (even when he is at his most egotistical) and during the darkest moments of this film, his performance can truly break our hearts. In every scene of this film his performance feels completely real. Harrison completely loses himself in the role and even if you are familiar with the actor's previous work, there are many times when you will forget you are watching an actor instead of the real person.
This movie also handles its social commentary wonderfully. There is nothing subtle about this film's message, but that never makes it less effective. Joseph is a black man in a time and a place where a black man was considered subhuman. Because of this he fights hard to excel at everything because it is only when he excels and proves himself to be the absolute best does he receive any respect from anyone. With this being the driving force of the character, the commentary on racism cuts very deep. As we can see how prejudice not only effects people outwardly but inwardly as well. Especially how it can effect how one views themself. This also makes the social commentary not only connect with us on an intellectual level but an emotional one as well as it taps into the basic human desire to be accepted.
Unfortunately this film does have some major faults. Probably the biggest is the romance. The main problem with the romance is that our main character's love interest never feels real. There is little to her personality other than what is needed for the story. Because of this she often times feels more like a story device instead of a main character. It doesn't help that many of the romantic scenes include awkward and forced sounding dialogue that is often not believable for a second. Her husband is even worse, simply being the bland mandatory villain, with his only personality traits being that he is racist and that he doesn't want his wife to follow her dream. Again he feels more like a story point than a character. Also most of the plot points that revolve around the French Revolution feel rushed and should have been given more time to develop.
Those faults would have really hurt a lesser film, but luckily this is not a lesser film and there is so much that is great about this movie and this overcomes all these faults.
This film may not be the next great comedy, but it does provide one with a nice trip to the movies. While the film is not consistently funny, and it has its share of times where the humor doesn't work, the comedic moments that do work are quite funny. In many ways this is a fish out of water comedy that often focuses on this woman who has never been to Italy before and has lived a normal stubborn life, suddenly finding herself as a mafia boss in a strange country to her. While this kind of fish out of water comedy has been done many times before, it is from this part of the story that the film's best comedy comes from. While it does not break any new ground, it is still quite funny and seeing this woman try to adjust to being a mob boss without losing who she is in the process is an inherently funny idea and seeing a mob boss like a suburban mom simply provides some really good comedic potential. While not all of that potential is reached there are definitely some good laughs to be had here. Some good laughs come out of her two bodyguards as well. While they are not complex characters, they are funny and that is just what they need to be. Unfortunately, the humor with the characters from her suburban life provide some of the movie's worst comedy. The scenes with the meetings with her co-workers are painfully unfunny. They rely on simple stereotypes but no laughs come from the stereotypes making them simply annoying and bland. This is pretty much how the comedy in this movie works, sometimes it is really funny and sometimes it is painfully unfunny.
The storyline in this movie is nothing original nor is it anything that you are going to have a strong emotional reaction to. However it does move at a fast pace and is quite enjoyable for much of the runtime. At the same time though the romantic subplot is simply bland and not interesting. This is heavily because the romance is never allowed to feel real or emotional to us. This is also true of anytime the film tries to get more serious or have a message (there is nothing wrong with this movie's message but it is presented in a very heavy-handed way)>
This movie has some incredibly violent moments. However with the silly lighthearted comedy through much of the film, this simply feels out of place and though it is very violent it is never over the top enough (in a Deadpool or John Wick sort of way) to add to the fun. Because of this all these violent scenes feel jarring and like they should be in a different film.
This movie has too many faults to be a great film but it is a very pleasant watch with some funny moments.
This film is simply everything a fantasy movie should be. The world of this film is incredibly engaging and as the movie goes on, it feels very real almost like you are taking a trip to another world. Much of this is due to some wonderful world building. Some moments here, don't really add that much to the story but do so much to add to the feel and effectiveness of this world. Often times, in fantasy movies, simply spending a little time in the world of the film is one of the most important ingredients. Little comedic moments and our main characters' stops along their journey make all the difference here. The story itself starts out very simplistic. Two characters are traveling around Japan to stop a great evil from being unleashed in the world and along the way they must close various doors to stop the evil from escaping. However, as the story goes along, it becomes more and more emotionally complex. While I don't want to give anything away, I will say the ending is incredibly emotionally powerful and masterfully done.
One thing anyone who say the previews should have excepted from this movie is a pure visual spectacle. This film is simply breath taking to look at from the great character animation to the simply beautiful artwork and use of lighting within animation. It was simply hard to look away for a second. However this visual spectacle is always in service to the story and does much for making this story and the world feel much more real to us.
With such films as 5 Centimeters per Second (2007), Your Name (2016) and Weathering With You (2019), Makoto Shinkai has proved himself to be one of the finest directors working in animation today and with this, his latest film, he only solidifies that.
Hello my friends. For those of you who don't know, last weekend is one of the highlights of a film buff's year, the TCM Classic Film Festival. It was four days of classic films and movie related delights presented at historic Hollywood sights (including Grauman's Chinese Theater, The Hollywood Roosevelt Hotel (where the first Academy Awards were held)). There were major special guests (including film historians and big time Hollywood stars and filmmakers), the most enthusiastic audiences you have ever seen and of course lots of classic movies. Also for classic film fans it is one of the few times that we can be surrounded by people who are just as passionate about them as we are.
There were so many highlights for me this year. One of the biggest was the wonderful 100th anniversary screening of The Hunchback of Notre Dame (1923) with Lon Chaney. I have seen this film before in only cheap public domain prints and liked it well enough. However seeing a great print of this film and seeing it in a movie theater, made me realize just what a great movie it is. I found myself emotionally moved by the film in a way I never had been before. Another great silent film experience was seeing the delightful silent movie, Clash of the Wolves (1925) with canine star Rin Tin Tin. It may seem strange to some (who haven't seen his films) that Rin Tin Tin was one of the biggest box office draws of his day and pretty much saved Warner Brothers from bankruptcy before The Jazz Singer (1927)and Al Jolson. However when you watch one of his movies, you fully understand. That are such fun movies and a pure delight to watch. Listening to the audience reaction to this film shows how these movies are still sure-fire audience pleasers. Adding to the fun was the wonderful silent film historian and composer Ben Model, accompanying the film live with a truly terrific score. Speaking about audience pleasers, there were no better audience pleasers than Harvey (1950) (which was introduced by the wonderful movie director Joe Dante) and a selection of Laurel and Hardy shorts. Speaking about shorts it was also a delight to watch a panel hosted by Jerry Beck and Randy Haberkamp about Looney Tunes shorts and the Oscars (which included some full cartoons). One of the most delightful surprises was a delightful film Warner Brothers made in Britian, Mr. Cohen Takes a Walk (1935). I had never even heard of this movie before, but I was soon completely won over by its charms. If you ever get a chance to watch this film, I highly recommend it. Leonard Maltin introduced the movie and said that he personally picked it for the festival and I am very grateful to him for picking it. To turn the attention to special guests, I got to see some great ones there. Dave Krager interviewed Richard Dreyfus and Candy Clark before American Graffiti (1973) and Ann Margert before Bye Bye Birdie (1963) and it was wonderful to watch those movies knowing the stars were in the same theater. Brain Henson (son of Muppet creator Jim Henson and the director of The Muppet Christmas Carol (1992) and Muppet Treasure Island (1996)) introduced a screening of Muppets Take Manhattan (1984) (which was another audience pleaser). As an Alfred Hitchcock fan I was delighted to see two wonderful Alfred Hitchcock movies on the big screen, Shadow of a Doubt (1943) and The Man Who Knew Too Much (1956).
This was simply a wonderful four days and I wish it never had to end. If any of you are debating about going next year, do so.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with a delightful Merrie Melodies cartoon, The Sheepish Wolf (1942). This short film was directed by Friz Freleng.
Now it is time for a silent movie, Egg Cited (1926). Like most of these shorts this movie cleverly combines animation and live action, as Koko the clown once again battles with his live action creator and often times rival, Max Fleischer (played by himself). Of course, one of the joys of these movies for animation buffs is that they can actually see Max interacting with his characters. The introduction of Max in this film is simply fantastic and remains one of my favorite moments of any of the Out of the Inkwell shorts.
Next comes an early example of one of Disney's Silly Symphonies, Arctic Antics (1930). Like all Disney cartoons of this era, this short film benefits from an incredible cast of animators. The opening scene with the bears and seals was animated by Frenchy de Tremaudan. Wilfred Jackson, who would go on to direct some of the finest Silly Symphonies shorts animates more of the bears and seals as well as the penguin leader and the little penguin during the march. Dave Hand, who would later be the supervising director for the Disney feature films, Snow White and the Seven Dwarfs (1937) and Bambi (1942), animates the bear cub on the ice cake and much of the penguin march. Les Clark, one of Walt's future Nine Old Men and one of the best Mickey Mouse animators, animates the large bear on the ice cake and a penguin doing a dance by himself. Norm Ferguson, whose animation would help define the character of Pluto, animates the operatic walrus (reused animation from the Mickey Mouse cartoon, Wild Waves (1929)) and the penguins dancing in a chorus line. Ben Sharpsteen, who was the supervising director for the Disney feature films Pinocchio (1940), Fantasia (1940) and Dumbo (1941), animates the four dancing seals, the seals applauding (reused animation from the Mickey Mouse cartoon, Wild Waves (1929)) and the walrus with the fish. Dick Lundy, who would go on to be a great Woody Woodpecker director, animates the seal dancing by himself and the seal balancing a fish on his nose. Johnny Cannon animates the seal squeezing the walrus' nose. Jack King, who would go on to direct some wonderful Donald Duck cartoons animates more of the penguin march. This short film would make its TV debut on an episode of the Mickey Mouse Club that aired on February 17, 1956.
Now we join our old friend Gandy Goose in his very first color cartoon, Doomsday (1938). This short film is a delightful take on the story of Chicken Little.
Now it is time for a commercial break.
Next is one of the most popular and best pairings of Mickey, Donald and Goofy, Lonesome Ghosts (1937). This film provides one with everything they could want from one of these cartoons. It has tons of fast-paced slapstick and creativity throughout. The story of this movie changed over the time it was being made, originally the haunted house was going to be a fake created by gangster Pete to scare others away. As you will see when you watch the film, the ghosts here are completely real. This caused a review for Motion Picture News too call the movie, "rather scary for tiny tots." A review in The Film Daily however said just the opposite stating "The Ghost stuff is all played for laughs instead of spookiness and the kids will eat it up." The following are a couple exhibitors' reviews from The Motion Picture Herald. "Lonesome Ghosts: Walt Disney cartoons - Another Disney of outstanding entertainment. - Harland Rankin, Plaza Theatre, Tilbury, Ontario, Canada. General Patronage." "Lonesome Ghosts: Walt Disney cartoons - I feel that Disney is living on his Snow White and the Seven Dwarfs reputation and his cartoons are not up to the usual standard he formally had. Running Time seven minutes - A.J. Jinks, Crystal Theatre, Ligonier, Ind. Small town patronage." This short film made its TV debut on the very first episode of the Disneyland TV series, The Disneyland Story (1954).
Now we join our old friend Flip the Frog in Puddle Pranks (1930). The only person credited on this film is Ub Iwerks, someone who Disney fans should be quite familiar with. His work with Walt Disney (the two basically co-created Mickey Mouse) on the early Mickey Mouse and Silly Symphonies cartoons, as well as the Oswald the Lucky Rabbit shorts and Alice Comedies, helped shape Disney animation and to fully state his impact on Disney history is impossible. Yet he would be lured away from Disney to head his own cartoon studio, where he would make this film. After his own cartoon series didn't catch on with the public the way his Disney work had, he wound up back at Disney. There he did special effects for such Disney movies as The Three Caballeros (1944), Song of the South (1946), 20,000 Leagues Under the Sea (1954), and Mary Poppins (1964). He even worked on some episodes of Disney's TV children's show, The Mickey Mouse Club (1955-1958). Away from Disney, he did special effects work on Alfred Hitchcock's The Birds (1963).
Exhibitors Herald and Moving Picture World, 1930
Next is Woody Woodpecker in Dippy Diplomat (1945).
Now to end with the next part of the Looney Tunes Webtoons, mini-series, Toon Marooned (2001). Who will get voted off this week?
Thanks for joining me. Come back next week for another selection of animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald https://mediahistoryproject.org/
A wonderful documentary on rock and roll icon, Little Richard.
What I try to bring to reviewing any music documentary is to ask myself if I hadn't heard of the musician or band going into the movie, would I leave the theatre a fan of their music. While I have long loved the music of Little Richard, if that wasn't the case I would still have left this movie a fan. The most obvious reason for this is hearing the music itself. The songs featured in this film are truly fantastic. While one may argue that they are obvious song choices, they are still a joy to listen to. There is a reason these songs were such major hits and I definitely enjoyed listening to them here. The clips of him performing these songs live are also wonderful and you can easily see what a great live performer he was. This movie also does a great job of putting Little Richard's music into context of both the time period and Richard's career as a whole. This gives those who may take much of his great music for granted, a greater understanding of the importance of what he did and how revolutionary it was. While his music still remains good listening today, this adds a whole new level to one's appreciation of it.
Also while this movie may be in many ways an overview of the artist's career, it is also a wonderful look at just who the man was. Little Richard was a complicated man and one who was seemingly full of contradictions. He was a Christian, who spent much of his time spreading the word of God, but he also was a party animal who took part in wild orgies. He took what many people said about him in stride as if he didn't care what anyone said about him, but he also was very upset at not receiving the public recognition he deserved. This movie addresses these contradictions head on. As you watch this film you begin to understand more and more why he was the way he was. This look into who Little Richard was is made much more authentic due to the use of many interviews Little Richard did at many parts in his career. Because of this we often get to hear who Little Richard was from the mouth of Little Richard himself. There are even some very clever scenes where we see back to back ways that he contradicted himself in various interviews. This works especially well because there place in the movie helps us understand just why he gave contradictory answers. This creates a more complex and more fascinating look at the man himself.
This is simply put a wonderful documentary that I recomend equally to long time fans and new comers.
A bland and overly cliché musical film from Mexico.
To say that this movie is over the top and soap opera-ish is an understatement. This film may be based off a TV soap opera, but even with this there is a certain limit to this kind of soap opera like storylines, that this movie definitely passes. There are so many over the top and overly convenient soap opera-ish turns in this story, that it is hard to have any emotional connection to anything that happens. This could work if the movie was played in a tongue in cheek manner, but instead, we are actually supposed to take this somewhat seriously. That proves to be impossible to do. Making this even worse is the characters here. They are very bland and have little personality outside of one or two character traits. Because of this the characters feel much more like story devices than actual people. We never feel these characters are real and therefore we never feel any emotional connection to them at all. This leaves one with little interest whenever there is a scene that is supposed to get an emotional response out of us. The storyline here is also as cliché as possible and has every soap opera cliché in the book. This makes it so anyone who has ever seen a movie knows exactly how it will end.
The only good things I can say about this movie is that I actually liked some of the songs and there were one or two jokes that got a small chuckle. Other than that though this movie was a waste of time.
Despite being someone who has never watched a basketball game in my life, I find myself often completely engrossed by this movie. Probably one reason why this film appealed to me so much is that we see little actual basketball here. This is instead a story about a shoe company wanting to create a shoe for Michael Jordan (I do know who he is because I have seen Space Jam). This gives this film a freshness and something that sets it apart from other sports films. It is also simply a compelling story. This movie takes exactly what so many people love to see in sports films and translates it to a different part of the sports world. That is that this is very much the type of underdog story that will always be appealing to movie audiences. The idea of a company risking everything on a rookie, who has yet to become a major name, is simply an incredibly appealing storyline. This movie tells that story very well. Much of this is due to how it makes us automatically sympathize with and root for our main character. We like this guy and want to see him be successful. This is only helped by a wonderful performance from Matt Damon, who is at his most fun and charming here. Also wonderful in this cast is Voila Davis as Michael Jordan's mom. Though her character does not receive a lot of screen time, she steals every scene she is in. She also provides a lot of heart and charm to this movie, that make the dramatic moments so great. This film also benefits from a great sense of energy that is even clear in the most dialogue heavy scenes. This energy shows itself through much of the film and keeps it always moving at a fast pace. In fact, the near two hours of this movie simply fly by. Throughout the majority of the movie, I simply had a lot of fun watching. This is especially true with a wonderful sense of humor that had me laughing out loud quite a few times.
Unfortunately, this movie has the fault that is true in many movies based off true stories and that is that we always know how the story is going to end. There have been a few movies that make you forget that you know how the story will end, but that is the exception rather than the rule. In this film, you always remember that you know how the film will end taking away any true feeling of suspense. There are also some side characters here that are two over the top and cartoonish, and they simply feel out of place in a movie based on a true story. While a lot of the dialogue between the characters is fantastic, this does not translate to the moments when a character stops to make some sort of speech. These speeches feel quite corny and out of place.
Despite this movie's sillier story points and the comedic similarities between the main character and Bob Ross, this is actually a slower paced and rather low-key comedy. This both works to the film's advantage and works against the movie. There are times when the low-key way this film is played makes some jokes incredibly funny. This is especially true of some of the most absurd scenes, because the fact that the film doesn't call attention to the absurdity of what you are watching makes these moments funny. This is especially true of the scenes where we see Ambrosia's (our main character's rival painter at the studio) bizarre paintings and people's reaction to them. There were definitely times watching this that I really laughed out loud. However this also leads to many moments where you "get" the joke, but simply don't laugh at it. This doesn't mean the joke falls flat because the jokes aren't really bad, but the slower pacing and low-key filmmaking work against them. This is especially true in the scenes where we see the women pining for our main character or spoiling them. This is a funny idea, but this subtler type of filmmaking keeps it from becoming anything more than simply a funny idea. However this leisurely pace does give this movie a charming easygoing feel that makes it pleasant to watch. It also works that Owen Wilson's performance is wonderfully charming and a delight to watch. This movie is also shockingly not mean spirited at all, but also has a good heart underneath its comedy, which leads to a quite pleasant watch.
This movie does have a problem with the fact that the romance simply isn't that interesting nor is it funny enough (outside of maybe one or two jokes) to make up for this. The few scenes where the romance is played straight simply fall flat.
This is not a great comedy by any means, but it did have some moments that made me laugh out loud and a nice charm to much of it.
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